A single thread can carry a batik pattern from Java to Los Angeles, a fungal network's hidden logic into hand-dyed fibre, or a family archive through an AI model and out the other side as cloth. That is the proposition behind Interweave, opening at Gazelli Art House in London this month, where five artists treat weaving as a mode of thought as much as a material practice
The show's premise is deceptively simple: threads cross to build something bigger than themselves, and that structural idea stretches far beyond the loom. Here it takes in migration, mythology, ecology and machine learning, each artist finding their own route through the crossing.
Adam de Boer, Pigeons in Silverlake, 2024. Batik and oil paint on linen, 82 x 163 cm.
Adam de Boer works the seam between two visual languages, layering traditional Javanese batik over a Western painting tradition. His current series turns that layered technique on Los Angeles itself, using wax-resist methods developed centuries ago to unpick the visual clutter of a contemporary American city, and in doing so maps his own inheritance across two very different landscapes.
Bea Bonafini, Plinian Fire, 2022, Bamboo silk, hand tufted, 195 x 145 cm
Bea Bonafini moves in the opposite direction, pulling myth and ecological thinking into tactile, shape-shifting forms. Her materials range across tapestry, cut carpet, cork painting and ceramics, and her figures drift between human, animal and something harder to name, built through processes that reward close, slow looking. The cutting and inlaying of carpet, in particular, gives her work a sculptural weight that photographs rarely capture.
LoVid, Fleeting Attention, 2024. Acrylic, thread, and dye-sublimation, polyester canvas, 79 x 76 cm.
LoVid, the New York duo working together since 2001, translate electronic signal and digital noise into dense woven surfaces. Their textiles blur the line between screen and cloth, treating static and networked interference as pattern sources in their own right, a practice built from over two decades of experimenting with where analogue material and digital process actually meet.
Joan Truckenbrod, Shaped Charge (detail), 2025. Hand digital jacquard weaving, 170 x 141 x 17 cm.
Joan Truckenbrod, a pioneer of digital art since the 1970s, uses Jacquard weaving to trace systems most of us never see: fungal networks, sound waves, the structural patterns beneath natural phenomena. Metallic thread and hand-dyed fibre sit alongside sculptural interventions, technology and ecology woven into the same cloth by an artist who was writing algorithms for textile design decades before it became fashionable to do so.
aurèce vettier, a family of seraphim encountered by a bearded man and a very intelligent black cat in the heart of an unsettling forest as the world enters into resonance, 2026. Tapestry from an AI-generated image, 150 x 210 cm | 59 x 82 5/8 in.
Then there is aurèce vettier, an art project built from custom-trained AI models drawn from personal archives. Algorithmically generated imagery becomes tactile object here, machine learning translated by hand into something you could touch, memory and dream rendered in fibre rather than pixels.
Interweave installation view, Gazelli Art House.
Across all five practices, the exhibition asks a genuinely useful question for anyone who works with cloth: what happens when ancient technique and emerging technology are asked to speak the same language? The answers, woven, dyed, layered and coded, suggest textile thinking has plenty of room left to run, and that the loom remains one of the more adaptable inventions we have.
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Further Information:
Interweave runs at Gazelli Art House, London, 17 July to 19 September 2026.
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Image Credits:
Lead: Joan Truckenbrod, Shaped Charge (detail), 2025. Hand digital jacquard weaving, 170 x 141 x 17 cm. Courtesy of Gazelli Art House.
All further images as credited in captions. Courtesy of the artists and Gazelli Art House.